plate no. 1163
Morning
Edvard Munch, 1884
recreation guide
Edvard Munch’s *Morning* (1884) is a genre painting executed in oil on canvas, representing a pivotal moment in the artist’s early career before his full transition to Symbolism. While the artwork is classified as Realism, it predates Munch’s later, more famous synthetist style characterized by symbolic color and simplified forms. The painting was displayed at the Norwegian pavilion during the 1889 Exposition Universelle in Paris, indicating its significance in Munch’s early portfolio (Source 1). At this stage, Munch was still engaging with academic traditions, having studied at the Royal School of Art and Design in Kristiania and later spending time in Léon Bonnat’s studio in Paris, where he practiced copying works in museums to learn technique and observation (Source 1). Although Munch found Bonnat’s drawing lessons 'numbing,' this period established his foundational craft in oil painting before he began experimenting with the emotional use of color influenced by Gauguin and Van Gogh (Source 1, Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (traditional RYB primaries: red, yellow, blue) | To mix secondary colors and achieve the tonal range required for realism; traditional color theory suggests using these primaries to create complements like green, orange, and purple (Source 4). | High-quality tube oils (e.g., Cadmium Red, Cadmium Yellow, Ultramarine Blue) |
| Canvas | The specified medium for the artwork (Source 1). | Linen or cotton canvas, primed |
| White palette | To allow correct judgment of color transparency and keep tones light, as advised in traditional oil painting manuals (Source 5). | Glass or white ceramic palette |
| Painting varnish | To seal watercolor underdrawings if used, or to glaze; traditional practice involves using varnish to fix sketches before oil application (Source 5). | Dammar varnish or acrylic isolation coat |
| Brushes and knives | For applying paint; while specific tools are not detailed, general oil painting practice requires a variety for outlining and execution (Source 5). | Hog bristle and synthetic brushes |
preparation
surface prep
The canvas should be sized and primed to create a stable ground. Traditional practice advises sizing with cheese paste or similar materials to ensure the surface is impervious to oil, allowing for correct judgment of color transparency (Source 5). Munch’s early training involved academic standards, implying a smooth, white ground typical of the period, rather than the rougher textures he might have explored later.
underdrawing
Munch’s early education involved rigorous drawing lessons, though he found them tedious (Source 1). For a realistic genre painting from 1884, an underdrawing is likely essential to establish the narrative composition. Traditional methods suggest outlining in oil or watercolor; if watercolor is used, it should be sealed with a coat of painting varnish before oil application to prevent misadventure with the sizing (Source 5). Munch’s practice of copying museum works suggests he valued precise observational drawing as a foundation (Source 1).
underpainting
While specific underpainting techniques for *Morning* are not detailed in the sources, Munch’s later work involved highly diluted paint and deliberate drips (Source 3). However, for this earlier realistic work, a traditional grisaille or tonal underpainting may have been used to establish values before applying color. The sources do not explicitly confirm this for *Morning*, so the artist should rely on general academic practice of the 1880s.
color palette
Red
Pure red pigment
General use in traditional palette; red is a primary color in the RYB model (Source 4).
Yellow
Pure yellow pigment
General use; yellow is a primary color (Source 4).
Blue
Pure blue pigment
General use; blue is a primary color (Source 4).
Green
Mixed from Blue and Yellow
Complementary to red; used for neutralizing or creating shadows without shifting hue drastically (Source 7).
Orange
Mixed from Red and Yellow
Complementary to blue; used for skin tones or warm highlights (Source 4).
Purple
Mixed from Red and Blue
Complementary to yellow; used for shadows or neutralizing yellow tones (Source 4).
composition
The sources do not describe the specific visual composition of *Morning* (e.g., figure placement, background details). Therefore, specific compositional moves cannot be cited. However, Munch’s later style favored shallow pictorial space and minimal backdrops for frontal figures (Source 3). While *Morning* is earlier and realistic, it may exhibit some of this tendency toward simplified form, though the sources do not confirm this for the 1884 work. The artist should focus on the narrative aspect typical of genre painting, depicting a moment in a story (Source 8).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition on the primed canvas using watercolor or thin oil. If using watercolor, apply a coat of painting varnish to seal it before proceeding (Source 5).
Tip — Ensure the varnish is dry to prevent oil from penetrating the sizing unevenly.
Traditional underdrawing
underpainting
step 02
Establish the tonal values of the scene. Use a neutral gray or brown wash to define light and shadow areas. This step is inferred from general academic practice of the period, as Munch studied copying techniques to learn observation (Source 1).
Tip — Keep the underpainting thin to allow subsequent layers to show through.
Grisaille or tonal underpainting
first pass
step 03
Apply the main colors using the traditional RYB palette. Mix secondary colors (green, orange, purple) from the primaries to maintain harmony (Source 4). Avoid using black to darken colors, as this can cause hue shifts; instead, use complementary colors to neutralize and darken (Source 7).
Tip — Watch for hue shifts when lightening colors with white; correct with adjacent colors if necessary (Source 7).
Color mixing with complements
refining
step 04
Refine the details and edges. Munch’s early work was realistic, so attention to observational detail is key. Use the knowledge gained from copying museum works to enhance accuracy (Source 1).
Tip — Ensure the narrative moment is clear, consistent with the genre of history/genre painting (Source 8).
Observational realism
finishing
step 05
Allow the painting to dry completely. Munch’s later work involved varnishing and even deliberate drips, but for this realistic piece, a standard varnish may be applied to protect the surface (Source 3).
Tip — Use a white palette for mixing to ensure color accuracy (Source 5).
Varnishing
critical techniques
Use of Complementary Colors
Munch was influenced by artists who used color to convey emotion (Source 1). In traditional color theory, complementary pairs (red-green, blue-orange, yellow-purple) create strong contrast and can be used to neutralize colors without shifting hue (Source 4, Source 7).
Copying for Technique
Munch learned technique by copying works in museums, a standard academic practice of the time (Source 1). This suggests a focus on observational accuracy and mastering the medium before experimenting with style.
Avoiding Black for Darkening
Adding black to colors can cause undesirable hue shifts (e.g., yellows becoming greenish). Using complementary colors to darken is a more stable method (Source 7).
common pitfalls
- →Using black to darken colors, which can cause hue shifts toward green or blue (Source 7).
- →Applying oil paint over an unsealed watercolor underdrawing, which can lead to uneven absorption and misadventure with the sizing (Source 5).
- →Over-modeling or being too tied to the outline, which can make the painting appear stiff; copying works like Reynolds’ portraits can help correct this tendency (Source 6).
- →Ignoring the narrative aspect of the genre, which is central to history and genre painting (Source 8).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·Specific visual details of *Morning* (e.g., subject matter, figure poses, background elements) are not described in the sources, making it impossible to provide exact compositional instructions.
- ·Munch’s specific underpainting technique for this 1884 work is not documented; the guide relies on general academic practice of the period.
- ·The exact palette used by Munch for *Morning* is not specified; the guide assumes a traditional RYB palette based on color theory sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting — CHAPTER IX↗
- OUTLINE AND EXECUTION OF A PICTURE IN OILS — applied to Surface preparation, underdrawing sealing, and palette usage.
The Practice of Oil Painting↗
- ON COPYING — applied to Advice on correcting over-modeling and learning through copying.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Edvard Munch — part 6↗
- Paris — applied to Context of the artwork, Munch’s training in copying, and his early realistic style.
Wikipedia: Complementary colors↗
- Complementary colors — part 1 — applied to Color mixing and palette construction.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Techniques for darkening and lightening colors without hue shifts.
Wikipedia: History painting↗
- History painting — part 1 — applied to Understanding the genre and narrative focus of the artwork.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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